Live recordings at LOFT in Cologne, Germany from the trio of George Wissel on prepared saxophone, Achim Tang on doublebass, and Simon Camatta on drums & percussion, performing seven "Movements" that use prodigious technique with reserve and direction, revealing the structure of their work as the pieces build and recede in fascinating ways.

"[...] Wissel, who is skilled at this sort of in-the-moment playing freedom with drummer Paul Lytton and others, spends the initial three-part suite, using saxophone phrasing to defining the parameters of the piece. At times he plays with languid motion, as if his horn is a dirigible inflating by inches; other times his exposition moves with the tremolo velocity of a concertina; while the unique rolling growls he brings to his solos make it appear as if he's from the Scottish part of Deutschland. Alongside, Tang matches Wissel's rooster-like reed crowing with powerful string stops, while Camatta's cymbal resonation underlines the connective exuberance taking place up top.

Fully conversant with lower-case playing in the pianissimo range à la John Butcher and circular breathing like Evan Parker, the saxophonist never makes a fetish of extended techniques. Instead he dips in-and-out of them with a chef's skill in seasoning a pungent stew. On clarinet, as on "rbt/uao", his thin, torqued tone relaxes into ripened harmonies as the others bend their textures to reflect this. As much as "mdrt/oeao" sums up the recital by concluding it lyrically with a track that sweeps the reedist's flute-like elasticized tone, the bassist's pit bull-like growling slices and the percussionist's broken beat into a satisfying finale, "lrghssm/aiio" is Movement's true climax. Electronically processed reed curves, cries and slurps are built up to skyscraper height, but with enough space within the bonding bricks and mortar so that the other two have enough space to express sonically affiliated rolls and swipes respectively.